St Matthew Passion structure

St Matthew Passion
BWV 244
Passion by J. S. Bach
Schmerzensmann (Man of sorrows) by Lucas Cranach the Elder (1515)
Original	Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum
Related	BWV 244a
Occasion	Good Friday
Performed	11 April 1727: Leipzig
Movements	68 in two parts (29 + 39)
Text	Picander
Bible text	Matthew 26–27
Chorale	Nikolaus Decius Johann Heermann Paul Gerhardt Albert, Duke in Prussia Sebald Heyden Adam Reusner Johann von Rist
Vocal	two choirs SATB Evangelist Vox Christi solo: soprano, alto, tenor, bass, soliloquents
Instrumental	two orchestras, each of 2 recorders 2 flauti traversi 2 oboes 2 oboes da caccia 2 oboes d'amore bassoon 2 violins viola viola da gamba continuo

Johann Sebastian Bach's St Matthew Passion (Matthäuspassion), BWV 244, is structured on multiple levels: the composition is structured by three levels of text sources (Gospel, libretto and chorales) and by the different formats that are used for the musical expression.

Bach's large choral composition was written to present the Passion, as told in the Gospel of Matthew, in a vespers service on Good Friday. It is composed in two parts, that were to be performed before and after the sermon of that service. Part I covers the events until the arrest of Jesus and Part II concludes with his burial and the sealing of his grave.

Bach took the Gospel text for the composition from Martin Luther's German translation of Matthew 26 and 27. Contemporary poetry in Picander's libretto and chorales comment on the Bible text and open and close most scenes of the narration.^[1][2][3]

Numbering of the movements

Bach did not number the sections of the St Matthew Passion but twentieth-century scholars have done so. The Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) divides the work into 78 numbers (vocal movements), but the Neue Bach-Ausgabe (NBA, New Bach Edition) uses a 1 through 68 numbering system. Both use lettered subsections in some cases.^[4][5] Movement numbers in this article follow the NBA scheme, except for the table with the movements that cross-references both numbering systems.

Text based structure

The text is composed on three levels, the biblical text, contemporary poetry by Picander and chorales.

Scene division based on the Gospel text

The St Matthew Passion can be divided in scenes or "stations" that follow the dramatic action of the Gospel account in different locations.^[3] Whatever the chosen scene division (none of them indicated by the composer in the score), scenes end on an aria, a chorus, or in the midst of a Gospel text section. In the latter case the ending of the scene would usually be on a turba chorus, e.g. "Wahrlich, dieser ist Gottes Sohn gewesen" ending the scene where Jesus dies at the cross.

New scenes begin with Gospel text sung by the Evangelist, except the first scene of each of the two parts of the composition. In other words, except for the chorus and aria that open Part One and Part Two, chorales and arias are a meditation after the narration of the action in the sung Gospel text.

NBA	16 scenes[3]	Archiv[6]
Part I
1–4b	1. "The chief priests seek to destroy Jesus"	Anointing in Bethany
4b–6	2. "Jesus is anointed with precious ointment"
7–8	3. "Judas plans the betrayal of Christ"	The Lord's Supper
9a–11	4. "The disciples prepare the Passover meal"
12–13	5. "The Last Supper"
14–17	6. "The Agony in the Garden"
18–25		In Gethsemane
26–29	7. "The arrest of Jesus"
Part II
30–35	8. "The hearing before high priest Caiaphas"	False Witness
36–37		Interrogation by Caiaphas and Pilate
38–40	9. "Peter's denial of Christ, and his remorse"
41–44	10. "Judas' repentance and death"
45–52	11. "The trial before Pontius Pilate"	Jesus' Delivery and Flagellation
53–54	12. "Soldiers crown Jesus with thorns, mocking him"
55–60	13. "Crucifixion"	Crucifixion
61–63b	14. "Death of Jesus, followed by an earthquake"
63c–66a	15. "Descent from the Cross; Christ's burial"	The Interment
66b–68	16. "Chief priests demand the tomb be sealed"

Libretto

Christian Friedrich Henrici (Picander), who collaborated with Bach, wrote text for recitatives and arias, and for the large scale choral movements that open and close the Passion. Other libretto sections came from publications by Salomo Franck and Barthold Heinrich Brockes.^[6]

Scenes can be opened and closed by arias: No. 6 "Buß und Reu", an aria for alto, concludes the scene at Bethany. Part II opens with an aria, "Ach! nun ist mein Jesus hin!".

Chorales

The oldest chorale chosen for the Passion dates from 1525. Bach used the hymns in different ways, most are four-part setting, two as the cantus firmus of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative.

Three of the texts Bach used for chorale settings are written by Paul Gerhardt. Bach included five stanzas of his O Haupt voll Blut und Wunden in the Passion, and he uses the first two stanzas of the poem to conclude the Flagellation scene.

Chorales in St Matthew Passion

Author	Date	Hymn; Stanza		Stanza incipit	No.	Set as...
Decius, NikolausNikolaus Decius	1541	O Lamm Gottes, unschuldig	1	O Lamm Gottes, unschuldig	1	cantus firmus in choral movement
Heermann, JohannJohann Heermann	1630	Herzliebster Jesu	1	Herzliebster Jesu, was hast du verbrochen	3	four-part chorale
Gerhardt, PaulPaul Gerhardt	1647	O Welt, sieh hier dein Leben	5	Ich bin’s, ich sollte büßen	10	four-part chorale
Gerhardt, PaulPaul Gerhardt	1656	O Haupt voll Blut und Wunden	5	Erkenne mich, mein Hüter	15	four-part chorale
Gerhardt, PaulPaul Gerhardt	1656	O Haupt voll Blut und Wunden	6	Ich will hier bei dir stehen	17	four-part chorale
Heermann, JohannJohann Heermann	1630	Herzliebster Jesu	3	Was ist doch wohl die Ursach	19	coro II in tenor recitative
Albert, Duke in Prussia, Albert, Duke in Prussia	1547	Was mein Gott will, das g'scheh allzeit	1	Was mein Gott will, das g'scheh allzeit	25	four-part chorale
Heyden, SebaldSebald Heyden	1525	O Mensch, bewein dein Sünde groß	1	O Mensch, bewein dein Sünde groß	29	cantus firmus in choral movement
Reusner, AdamAdam Reusner	1533	In dich hab ich gehoffet, Herr	5	Mir hat die Welt trüglich gericht'	32	four-part chorale
Gerhardt, PaulPaul Gerhardt	1647	O Welt, sieh hier dein Leben	3	Wer hat dich so geschlagen	37	four-part chorale
Rist, Johann vonJohann von Rist	1642	Werde munter, mein Gemüte	6	Bin ich gleich von dir gewichen	40	four-part chorale
Gerhardt, PaulPaul Gerhardt	1656	Befiehl du deine Wege	1	Befiehl du deine Wege	44	four-part chorale
Heermann, JohannJohann Heermann	1630	Herzliebster Jesu	4	Wie wunderbarlich ist doch diese Strafe!	46	four-part chorale
Gerhardt, PaulPaul Gerhardt	1656	O Haupt voll Blut und Wunden	1 2	O Haupt voll Blut und Wunden Du edles Angesichte	54	four-part chorale
Gerhardt, PaulPaul Gerhardt	1656	O Haupt voll Blut und Wunden	9	Wenn ich einmal soll scheiden	62	four-part chorale

Musical structure

Beginning of recitative No. 61a (NBA), the Bible words written in red

The work is composed for double choir, double orchestra, and vocal soloists. The soloists and the organist usually perform for both groups. The choirs are abbreviated Ch I and Ch II, individual voice parts as S (soprano), A (alto), T (tenor) and B (bass). Both choirs are four-part, SATB. The orchestra consists of woodwinds, strings and basso continuo (Bc). Woodwinds are recorder, flauto traverso (transverse flute) (Ft), oboe (Ob), oboe d'amore (Oa) and oboe da caccia (Oc). Strings are violin (Vn), solo violin (Vs), viola (Va), lute (Lt), viola da gamba (Vg). Continuo are violoncello, double bass, bassoon and organ.

The Bible story is brought by the Evangelist (Ev) in secco recitative, and by the characters that have direct speech in the narrative. The speech of Jesus sings in accompagnato recitative, except at the beginning of No. 61a where Jesus utters his last words "Eli, Eli, lama, lama asabthani" [sic] in recitative secco (see facsimile image on the right). The speech of other persons, called soliloquents is also set as secco recitative. Soliloquents are Judas (B), Peter (B), two witnesses (A T), two high priests (B), two maids (S), Pilate (B) and his wife (S). The speech of groups such as the disciples and the crowd, are expressed in turba choruses.

Reflecting thoughts on contemporary poetry appear as a sequence of recitative (rec) and aria, sometimes just an aria, and in choral movements. Most chorales are four-part settings. Several movements use a combination of forms, such as an aria with chorale, a chorale fantasia, a chorus with a chorale as a cantus firmus. Chorales are performed by both groups combined to one, with each voice type in unison. Movement 63b, "Wahrlich, dieser ist Gottes Sohn gewesen" (Truly, this man was God's own Son most truly), is treated the same way. Part I ends with a chorale fantasia that is based on the opening chorus of the St John Passion in its second version, also performed by both choirs in unison, whereas the opening chorus is for double choir with an additional cantus firmus of the chorale "O Lamm Gottes, unschuldig", which was originally played, later sung. The closing chorus is in da capo form for two choirs.

Movements

Column 1 of the table is the movement number in the Neue Bach-Ausgabe; column 2 is this number in the Bach-Werke-Verzeichnis. The last column shows the incipit, the first words sung with the music.

Structure of St Matthew Passion Part I

NBA	BWV	Gospel	Ch I	Ch II	Key	Time	Beginning of text	Instrumentation	Source	Incipit
1	1	Chorale S	Ch I	Ch II	E minor	12/8	Kommt, ihr Töchter, helft mir klagen + chorale O Lamm Gottes unschuldig like a motto	2Ft 2Ob 2Vn Va Bc	Picander + Nicolaus Decius
2	2	Ev, Jesus			G major → B minor		Da Jesus diese Rede vollendet hatte	2Vn Va Bc	Mt 26:1–2
3	3		Chorale		B minor	4/4	Herzliebster Jesu	2Ft 2Ob 2Vn Va Bc	Johann Heermann
4a	4	Ev			D major → C major		Da versammleten sich die Hohenpriester	Bc	Mt 26:3–4
4b	5	Ch I		Ch II	C major	4/4	Ja nicht auf das Fest	2Ft 2Ob 2Vn Va Bc	Mt 26:5
4c	6	Ev			C major → A minor		Da nun Jesus war zu Bethanien	Bc	Mt 26:6–8a
4d	7	Ch I			A minor → D minor	4/4	Wozu dienet dieser Unrat	2Ft 2Ob 2Vn Va Bc	Mt 26:8b–9
4e	8	Ev, Jesus			B♭ major → E minor		Da das Jesus merkete	2Vn Va Bc	Mt 26:10–13
5	9		Rec A		B minor → F♯ minor	4/4	Du lieber Heiland du	2Ft Bc	Salomo Franck
6	10		Aria A		F♯ minor	3/8	Buß und Reu	2Ft Bc	Picander
7	11	Ev, Judas			D major → B minor		Da ging hin der Zwölfen einer	Bc	Mt 26:14–16
8	12		Aria S		B minor	4/4	Blute nur, du liebes Herz!	2Ft 2Vn Va Bc	Picander
9a	13	Ev			G major		Aber am ersten Tage der süßen Brot	Bc	Mt 26:17a
9b	14	Ch I			G major	3/4	Wo willst du, daß wir dir bereiten	2Ft 2Ob 2Vn Va Bc	Mt 26:17b
9c	15	Ev, Jesus			G major → C major		Er sprach: Gehet hin in die Stadt	2Vn Va Bc	Mt 26:18–21
9d		Ev			B♭ minor → F minor		Und sie wurden sehr betrübt	Bc	Mt 26:22a
9e		Ch I			F minor → C minor	4/4	Herr, bin ich’s?	2Ft 2Ob 2Vn Va Bc	Mt 26:22b
10	16		Chorale		A♭ major	4/4	Ich bin’s, ich sollte büßen	2Ob 2Vn Va Bc	Paul Gerhardt
11	17	Ev, Jesus, Judas			F minor → G major	4/4–6/4	Er antwortete und sprach	2Vn Va Bc	Mt 26:23–29
12	18		Rec S		E minor → C major	4/4	Wiewohl mein Herz in Tränen schwimmt	2Oa Bc	Picander
13	19		Aria S		G major	6/8	Ich will dir mein Herze schenken	2Oa Bc	Picander
14	20	Ev, Jesus			B minor → E major		Und da sie den Lobgesang gesprochen hatten	2Vn Va Bc	Mt 26:30–32
15	21		Chorale		E major	4/4	Erkenne mich, mein Hüter	2Ft 2Ob 2Vn Va Bc	Paul Gerhardt
16	22	Ev, Jesus, Peter			A major → G minor		Petrus aber antwortete	2Vn Va Bc	Mt 26:33–35
17	23		Chorale		E♭ major	4/4	Ich will hier bei dir stehen	2Ob 2Vn Va Bc	Paul Gerhardt
18	24	Ev, Jesus			F major → A♭ major		Da kam Jesus mit ihnen zu einem Hofe	2Vn Va Bc	Mt 26:36–38
19	25		Rec T	Ch II Chorale	F minor → G major	4/4	Hier zittert das gequälte Herz	2Fl 2Oc 2Vn Va Bc	Picander + Johann Heermann
20	26		Aria T	Ch II	C minor	4/4	Ich will bei meinem Jesu wachen	2Ft Ob 2Vn Va Bc	Picander
21	27	Ev, Jesus			B major → G minor		Und ging hin ein wenig	2Vn Va Bc	Mt 26:39
22	28		Rec B		D minor → B♭ major	4/4	Der Heiland fällt vor seinem Vater nieder	2Vn Va Bc	Picander
23	29		Aria B		G minor	3/8	Gerne will ich mich bequemen	2Vn Bc	Picander
24	30	Ev, Jesus			F major → B minor		Und er kam zu seinen Jüngern	2Vn Va Bc	Mt 26:40–42
25	31		Chorale		B minor	4/4	Was mein Gott will, das g’scheh allzeit	2Ft 2Ob 2Vn Va Bc	Albert, Duke of Prussia
26	32	Ev, Jesus			D major → G major		Und er kam und fand sie aber schlafend	2Vn Va Bc	Mt 26:43–50
27a	33		Aria S A	Ch II	E minor	4/4	So ist mein Jesus nun gefangen	2Ft 2Ob 2Vn Va Bc	Picander
27b			Ch I	Ch II	E minor	3/8	Sind Blitze, sind Donner in Wolken verschwunden?	2Ft 2Ob 2Vn Va Bc	Barthold Heinrich Brockes
28	34	Ev, Jesus			F♯ major → C♯ minor		Und siehe, einer aus denen	2Vn Va Bc	Mt 26:51–56
29	35		Chorale fantasia		E major	4/4	O Mensch, bewein dein Sünde groß	2Ft 2Oa 2Vn Va Bc	Sebald Heyden

Structure of St Matthew Passion Part II

NBA	BWV	Form			Key	Time	Text	Instrumentation	Source	Incipit
30	36		Aria A	Ch II	B minor	3/8	Ach! nun ist mein Jesus hin!	Ft Oa 2Vn Va Bc	Picander
31	37	Ev			B major → D minor		Die aber Jesum gegriffen hatten	Bc	Mt 26:57–60a
32	38		Chorale		B♭ major	4/4	Mir hat die Welt trüglich gericht'	2Ft 2Ob 2Vn Va Bc	Adam Reusner
33	39	Ev, 2 witnesses, high priest			G minor		Und wiewohl viel falsche Zeugen herzutraten	Bc	Mt 26:60b–63a
34	40		Rec T		A major → A minor	4/4	Mein Jesus schweigt	2Ob Vg Bc	Picander
35	41		Aria T		A minor	4/4	Geduld! Wenn mich falsche Zungen stechen	Vg Bc	Picander
36a	42	Ev, Jesus, high priest			E minor		Und der Hohepriester antwortete	2Vn Va Bc	Mt 26:63b–66a
36b		Ch I		Ch II	G major		Er ist des Todes schuldig!	2Ft 2Ob 2Vn Va Bc	Mt 26:63b
36c	43	Ev			C major → D minor		Da speieten sie aus	Bc	Mt 26:67
36d		Ch I		Ch II	D minor → F major		Weissage uns, Christe	2Ft 2Ob 2Vn Va Bc	Mt 26:68
37	44		Chorale		F major	4/4	Wer hat dich so geschlagen	2Ft 2Ob 2Vn Va Bc	Paul Gerhardt
38a	45	Ev, Peter, 2 maids			A major → D major		Petrus aber saß draußen	Bc	Mt 26:69–73a
38b		Ch II			D major → A major		Wahrlich, du bist auch einer	2Ft Ob 2Vn Va Bc	Mt 26:73b
38c	46	Ev, Peter			C♯ major → F♯ minor		Da hub er an, sich zu verfluchen	Bc	Mt 26:74–75
39	47		Aria A		B minor	12/8	Erbarme dich	Vs 2Vn Va Bc	Picander
40	48		Chorale		F♯ minor → A major	4/4	Bin ich gleich von dir gewichen	2Ft 2Ob 2Vn Va Bc	Johann Rist
41a	49	Ev, Judas			F♯ minor → B major		Des Morgens aber hielten alle Hohepriester	Bc	Mt 27:1–4a
41b		Ch I		Ch II	B major → E minor		Was gehet uns das an?	2Ft 2Ob 2Vn Va Bc	Mt 27:4b
41c	50	Ev, 2 high priests			A minor → B minor		Und er warf die Silberlinge in den Tempel	Bc	Mt 27:5–6
42	51		Aria B		G major	4/4	Gebt mir meinen Jesum wieder!	Vs 2Vn Va Bc	Picander
43	52	Ev, Jesus, Pilate			E minor → D major		Sie hielten aber einen Rat	2Vn Va Bc	Mt 27:7–14
44	53		Chorale		D major	4/4	Befiehl du deine Wege	2Ft 2Ob 2Vn Va Bc	Paul Gerhardt
45a	54	Ev, Pilate, his wife	Ch I	Ch II	E major → A minor		Auf das Fest aber hatte der Landpfleger Gewohnheit	Bc	Mt 27:15–22a
45b		Ch I & II			A minor → B major		Laß ihn kreuzigen!	2Ft 2Ob 2Vn Va Bc	Mt 27:22b
46	55		Chorale		B minor	4/4	Wie wunderbarlich ist doch diese Strafe!	2Ft 2Ob 2Vn Va Bc	Johann Heermann
47	56	Ev, Pilate			B minor		Der Landpfleger sagte	Bc	Mt 27:23a
48	57		Rec S		E minor → C major	4/4	Er hat uns allen wohlgetan	2Oc Bc	Picander
49	58		Aria S		A minor	3/4	Aus Liebe will mein Heiland sterben	Ft 2Oc	Picander
50a	59	Ev			E minor		Sie schrieen aber noch mehr	Bc	Mt 27:23b
50b		Ch I & II			B minor → C♯ major		Laß ihn kreuzigen!	2Ft 2Ob 2Vn Va Bc	Mt 27:23c
50c		Ev, Pilate			C♯ major → B minor		Da aber Pilatus sahe	Bc	Mt 27:24–25a
50d		Ch I & II			B minor → D major		Sein Blut komme über uns	2Ft 2Ob 2Vn Va Bc	Mt 27:25b
50e		Ev			D major → E minor		Da gab er ihnen Barrabam los	Bc	Mt 27:26
51	60		Rec A		F major → G minor	4/4	Erbarm es Gott!	2Vn Va Bc	Picander
52	61		Aria A		G minor	3/4	Können Tränen meiner Wangen	2Vn Bc	Picander
53a	62	Ev			F major → D minor		Da nahmen die Kriegsknechte	Bc	Mt 27:27–29a
53b		Ch I		Ch II	D minor → A major		Gegrüßet seist du, Jüdenkönig!	2Ft 2Ob 2Vn Va Bc	Mt 27:29b
53c		Ev			D minor		Und speieten ihn an	Bc	Mt 27:30
54	63		Chorale		D minor→F major	4/4	O Haupt voll Blut und Wunden	2Ft 2Ob 2Vn Va Bc	Paul Gerhardt
55	64	Ev			A minor		Und da sie ihn verspottet hatten	Bc	Mt 27:31–32
56	65		Rec B		F major → D minor	4/4	Ja freilich will in uns	2Ft Vg Bc	Picander
57	66		Aria B		D minor	4/4	Komm, süßes Kreuz	Vg Bc	Picander
58a	67	Ev			C major → F♯ major		Und da sie an die Stätte kamen	Bc	Mt 27:33–39
58b		Ch I		Ch II	F♯ major → B minor		Der du den Tempel Gottes zerbrichst	2Ft 2Ob 2Vn Va Bc	Mt 27:40
58c		Ev			F♯ major → E minor		Desgleichen auch die Hohenpriester	Bc	Mt 27:41
58d		Ch I		Ch II	E minor		Andern hat er geholfen	2Ft 2Ob 2Vn Va Bc	Mt 27:42–44
58e	68	Ev			G major → C minor		Desgleichen schmäheten ihn	Bc	Mt 27:44
59	69		Rec A		A♭ major	4/4	Ach Golgatha	2Oc Bc	Picander
60	70		Aria A	Ch II	E♭ major	4/4	Sehet, Jesus hat die Hand	2Ob 2Oc 2Vn Va Bc	Picander
61a	71	Ev, Jesus			E♭ major → C minor		Und von der sechsten Stunde an	Bc	Mt 27:45–47a
61b		Ch I			C minor → F major		Der rufet dem Elias!	2Ob 2Vn Va Bc	Mt 27:47b
61c		Ev			F major → G minor		Und bald lief einer unter ihnen	Bc	Mt 27:48–49a
61d		Ch II			G minor → D minor		Halt! laß sehen	2Ft Ob 2Vn Va Bc	Mt 27:49b
61e		Ev			D minor → A minor		Aber Jesus schriee abermal laut	Bc	Mt 27:50
62	72		Chorale		A minor	4/4	Wenn ich einmal soll scheiden	2Ft 2Ob 2Vn Va Bc	Paul Gerhardt
63a	73	Ev			C major → A♭ major		Und siehe da, der Vorhang im Tempel zerriß0	Bc	Mt 27:51–54a
63b		Ch I & II			A♭ major		Wahrlich, dieser ist Gottes Sohn gewesen	2Ft Ob 2Vn Va Bc	Mt 27:54b
63c		Ev			E♭ major → B♭ major		Und es waren viel Weiber da	Bc	Mt 27:55–59
64	74		Rec B		G minor	4/4	Am Abend, da es kühle war	2Vn Va Bc	Salomo Franck
65	75		Aria B		B♭ major	12/8	Mache dich, mein Herze, rein	2Oc 2Vn Va Bc	Picander
66a	76	Ev			G minor → E♭ major		Und Joseph nahm den Leib0	Bc	Mt 27:59–62
66b		Ch I		Ch II	E♭ major → D major		Herr, wir haben gedacht	2Ft 2Ob 2Vn Va Bc	Mt 27:63–64
66c		Ev, Pilate			G minor → E♭ major		Pilatus sprach zu ihnen	Bc	Mt 27:65–66
67	77		Rec S A T B	Ch II	E♭ major → C minor	4/4	Nun ist der Herr zur Ruh gebracht	2Ft 2Ob 2Vn Va Bc	Picander
68	78		Ch I	Ch II	C minor	3/4	Wir setzen uns mit Tränen nieder	2Ft 2Ob 2Vn Va Bc	Picander

References

1. Huizenga, Tom (2012). "A Visitor's Guide to the St. Matthew Passion". National Public Radio. Retrieved 26 March 2012.
2. Harbison, John (2012). "J.S. Bach: St. Matthew Passion". Emmanuel Music. Retrieved 26 March 2012.
3. Traupman-Carr, Carol (2003). "St. Matthew Passion, BWV 244". Bach Choir of Bethlehem. Retrieved 26 March 2012.
4. Robert Greenberg. Bach and the High Baroque: Course Guidebook. pp. 214–243.
5. "St Matthew Passion – German to English translation in interlinear format". (uses NBA numbering)
6. Booklet of Johann Sebastian Bach: Matthäus-Passion Karl Richter, Münchener Bach-Orchester et. al. Archiv Produktion 1980

Sources

• Matthäuspassion: Scores at the International Music Score Library Project
• Matthäuspassion, early edition (BWV 244b): Scores at the International Music Score Library Project
• St. Matthew passion BWV 244; BC D 3b / Passion Leipzig University
• Matthäus-Passion BWV 244 history, scoring, sources for text and music, translations to various languages, discography, discussion, bach-cantatas website
• Matthäuspassion history, scoring, Bach website (German)
• BWV 244 Matthäus-Passion Sources, English translation, University of Vermont
• BWV 244 Matthäuspassion text, scoring, University of Alberta
• Tim Smith and Ben Kammin: The Chorales of Bach's St. Matthew Passion: their Sources and Dramatic Roles bach.nau.edu

External links

• Uri Golomb: Academia.Edu Liturgical drama in Bach’s St. Matthew Passion Goldberg Early Music Magazine 39 (April 2006), pp. 48–59
• Rex Levang: The St. Matthew Passion Minnesota Public Radio, text and translation, commentary, 2001